true SURREAL ARTWORK
Noumenon
-at-
http://www.zademack.de
1. main page: 12 NEW paintings...
2. Full archive (more than 240 pictures)
- click button "REVIEW" on the bottom of menu panel.
Weaving the Conundrum
-= Noumenon =-
Noumenon
he seems to be rather good and serious artist,
and I noticed that this link was posted here couple of times,
but nobody ever wrote a word about it.
...even Mani
Strange, very strange.
People are ready to discuss useless crap in this newsgroup for weeks(!?),
but nobody cares to write a line or two about really interesting works.
- What a shame!
-= Noumenon =-
ww Bracken
"Noumenon" <ArtE...@concentric.net> wrote in message
news:3D26875C...@concentric.net...
And you klnow this is work that would be right up mani's alley. Oh guess
its all been done before and no one cares
david anthony magitis
Nina
tasteless and insulting for any creativity. Maybe this man should make his
wife change her name to Gala too... I mean,where is originality? Especially
at these
times,full of inspiration and spiritus movens for fresh ideas.
"david anthony magitis" <ima...@btinternet.com> wrote in message
news:ag6ape$3qi$1...@paris.btinternet.com...
david anthony magitis
observational than head created, but you must agree that the execution of
his work is of a very high quality and standard. As for calling it surreal I
aint that convinced.
Dale Houstman
"Dan Fox" <danf...@yahoo.com> wrote in message
news:20020706090932.424$O...@newsreader.com...
> "ww Bracken" <wwbr...@charter.net> wrote:
> >
> > And you klnow this is work that would be right up mani's alley. Oh
guess
> > its all been done before and no one cares
>
> better. My opinion: lots of conventional skill, but no creativity. I have
> no emotional reaction to it.
>
> --
I am not certain that an emotional reaction is what is missing. The work is
beautifully executed, but almost every painting seems to be a pastiche, and
"flawless" technique was never the bulwark of surrealism, except for when
Dali went drifting into the Vatican and up Velaquez' ass. There is nothing
awful about the work, and it is actually pleasant to gaze upon, but there
are entirely too many reflections and shadows to see it properly. I would
prefer a more "brutal" approach at this point, rather than something which
comes off as well-done homage.
dmh
mdeli
>Btw,
>
>he seems to be rather good and serious artist,
>and I noticed that this link was posted here couple of times,
>but nobody ever wrote a word about it.
>...even Mani
Sorry, I never noticed the reference and am glad you repeated it. I'd
say it is excellent work. His nudes leave something to be desired and
his color is as bad as mine. His work though excellent in my opinion
is on the level of a good illustrator. I can name, in my opinion,
finer artists dismissed by artzy fartzies because they classify them
as illustrators only.
There is as much fine art produced today as in any other time. It just
isn't allowed in Academically controlled museums. The net is one of
the best places to find it.
>
>Strange, very strange.
>People are ready to discuss useless crap in this newsgroup for weeks(!?),
>but nobody cares to write a line or two about really interesting works.
>- What a shame!
>
I've mentioned some artists who I particularly like that can be seen
here. I repeat:
Gil Bruvel http://www.bruvel.
James Christenson- Look up in google
I've mentioned these several times and got not a peep. Perhaps you can
tell us your opinion. Please mention any other artist you may know
about in a similar category. I try to look at most of the artists
mentioned here. Most are an abomination.
Tired of Modern Art? Check out my web page
mdeli
>Winston - I think you've got it. It's not only been done before, but
>better.
I agree, but what's wrong with having been done before? The subject
matter is conventional surrealism. I judge painting by how well its
done. Does every artzy fartzy here imagine that Mondrian was the first
to draw stripes and Pollock was the first dripper. Surely Fox's
furniture store abstraction has been done ad nauseum and can be seen
by the square mile in the museum rental sections which are filled with
the works of those who can't make to the upstairs because they haven't
successfully AKed the curator.
But is it garbage solely because its repetitive? No, its because its
repetitive, "garbage."
> My opinion: lots of conventional skill, but no creativity. I have
>no emotional reaction to it.
>
I would say that skill is rare especially today and anyone with that
degree of skill will deservedly sell and be successful. We can't all
be great artists but those who know their craft will always sell
better than a few phoney Fox,s.
Fox on the other hand, has no skill of any kind and never had an idea
in his life.
elag
mdeli
by Damien Bartoli
Bouguereau’s reappreciation can rather accurately be tracked from 1979
when his prices at auction quadrupled, and then was further catapulted
by the 1984 retrospective that traveled from the Petite Palais in
Paris, to the Montreal Museum of Fine Arts in Canada and finally to
the Wadsworth Atheneum in Hartford. It was in fact a financial
contribution by our current chairman of the Art Renewal Center that
made possible that exhibition.
His values in the market place have literally exploded; from works
selling for and average $500 to $1500 in the 1950’s, to where in the
last three years alone his auction records have been broken another 4
times. In 1998 The Hearts Awakening sold for $1,410,000 at Christie’s
New York. In 1999 Cupid et Psyche, Enfants sold for $1,760,000 also at
Christie’s to be surpassed the very next day at Sotheby’s when Alma
Perens owned by Sylvester Stalone sold for $2,650,00. That record only
lasted one year until May of 2000, when Charite sold $3,520,000 back
at Christie’s.
Over the last 20 years his paintings all over the world have been
taken out of their crates, basements, storage rooms and attics, dusted
off, many cleaned and expertly restored, and today over a hundred
museums and institutions proudly have his works on permanent exhibit.
Reproductions of paintings are selling by the millions in poster shops
and gift stores world wide, and there is much evidence that they are
even outselling the reproductions of paintings by the most famous of
the modernists.
david anthony magitis
I,m only interested in visionaries like Nik! please do better!
Voicemaster
Voicemaster
Found it.
Bought some.
"Noumenon" <ArtE...@concentric.net> wrote in message
news:3D26863B...@concentric.net...
Nerd Gerl
I'm glad I took the time to visit this site. You know I almost didn't because
of some of the comments here? Just goes to show... you can't judge an artwork
by a newsgroup. :-o
Anyhoo... my two cents about the art and the artist: I am jealous.
==========
Portfolio of Nude Angels: http://www.rcip.com/nerdgerl
See In Person @ MatrixArts Space | Sacramento, CA
E- Portfolio: http://www.rcip.com/nerdgerl/nangels.zip
JSA
> (Dan Pedigreed Fox) wrote:
>
> >Winston - I think you've got it. It's not only been done before, but
> >better.
>
> I agree, but what's wrong with having been done before? The subject
> matter is conventional surrealism. I judge painting by how well its
> done.
Anyone truly interested in Surrealism would have abandoned the game
before putting the words "conventional surrealism" together.
Parry
Looking for surreal? I rather like what I've seen of Mary
Porterfield's works. Haven't found a proper on-line exhibition, but
one painting can be seen at
http://garnet.acns.fsu.edu/~sap0318/artistpages/porterfield.html
and two more at http://www.asu.edu/asunews/arts/flux_031202.htm.
-- Parry
The Roadside Artist
because
> of some of the comments here? Just goes to show... you can't judge an
artwork
> by a newsgroup. :-o
>
> Anyhoo... my two cents about the art and the artist: I am jealous.
Too many people here are looking for a reason - ANY reason - to vent their
undirected hostility. I guess it's cheaper than seeing a therapist, but
it's too bad they feel they have to lower the quality of life for others in
order to feel better about themselves.
-------------------------------------------
The Roadside Artist
http://www.roadsideartist.com
mdeli
>Looking for surreal? I rather like what I've seen of Mary
>Porterfield's works. Haven't found a proper on-line exhibition, but
>one painting can be seen at
>http://garnet.acns.fsu.edu/~sap0318/artistpages/porterfield.html
The usual university crap acompanied by the usual Artspeak. Its about
as surreal apple pie.
"Having worked as an occupational therapist for seven years, I assess
individuals with dementia and often recommend safer living
environments. This painting is an attempt to portray the progressive
loss of self-awareness and orientation I witness in many of my
patients. To more fully capture the altered level of awareness, I
apply my paint in a manner consistent with this layering of thought.
Using palette knives to vary surface texture, I diversity form and
create altered perspectives to respect the fluctuation between moments
of clarity and ambiguity." -MP
The artist is a Professor's Assistant in the Department of Painting
and Drawing at Arizona State University and maintains a studio in
Tempe, Arizona
I wonder if the Prof is even worse.
>and two more at http://www.asu.edu/asunews/arts/flux_031202.htm.
>
Couldnt get the page to work.
john adams
"mdeli" <n...@mail.com> wrote in message news:3d288bbd...@news1.on.sympatico.ca...
> On 6 Jul 2002 23:39:59 -0700, pa...@perfectmail.com (Parry) wrote:
>
>
> >Looking for surreal? I rather like what I've seen of Mary
> >Porterfield's works. Haven't found a proper on-line exhibition, but
> >one painting can be seen at
> >http://garnet.acns.fsu.edu/~sap0318/artistpages/porterfield.html
>
> The usual university crap acompanied by the usual Artspeak. Its about
> as surreal apple pie.
What's about a surreal apple pie?
It's no suprise that you don't find interest in the activity of the
mental process and the artwork that is a product of it. You
seem content in giving advice to capitalize on one's
abilities as soon as possible ("Cash in on your abilities as
early as you can"). "Education is a temporary state of affairs",
you might say. Actually just substitute in the word school, to
be precise. You seem only able to think in terms of competence,
inferiority or superiority, and art as profession.
While we may agree about the rhetoric of modern art institutions and
their outrageous price tags, I see your attack on all art commentary
in general, and this woman's work with patients in particular, as
inappropriately acidic and somewhat dimsighted.
-john
mdeli
<johnqa...@yahoo.com> wrote:
> You
>seem content in giving advice to capitalize on one's
>abilities as soon as possible ("Cash in on your abilities as
>early as you can"). "Education is a temporary state of affairs",
>you might say. Actually just substitute in the word school, to
>be precise. You seem only able to think in terms of competence,
>inferiority or superiority, and art as profession.
>
>While we may agree about the rhetoric of modern art institutions and
>their outrageous price tags, I see your attack on all art commentary
>in general, and this woman's work with patients in particular, as
>inappropriately acidic and somewhat .
>
>It's no suprise that you don't find interest in the activity of the
>mental process and the artwork that is a product of it.
Do tell us what the painting has to do with the "activity of the
mental process?"
>
>While we may agree about the rhetoric of modern art institutions and
>their outrageous price tags, I see your attack on all art commentary
>in general, and this woman's work with patients in particular, as
>inappropriately acidic and somewhat dimsighted.
I just praised a surrealist painter in a previous message. I didn't
attack this woman's work with patients.
She wrote
>>snip-- This painting is an attempt to portray the progressive
>> loss of self-awareness and orientation I witness in many of my
>> patients.
So tell us if the painting does that for you? Or is it a failed
attempt?
>>To more fully capture the altered level of awareness, I
>> apply my paint in a manner consistent with this layering of thought.
>> Using palette knives to vary surface texture, I diversity form and
>> create altered perspectives to respect the fluctuation between moments
>> of clarity and ambiguity." -MP
>>
In other words, she uses this technique, "To more fully capture the
altered level of awareness." I guess this sounds sensible to you.
>> The artist is a Professor's Assistant in the Department of Painting
>> and Drawing at Arizona State University and maintains a studio in
>> Tempe, Arizona
>>
>> I wonder if the Prof is even worse.
>>
Must be a great department.!
Noumenon
> Winston - I think you've got it. It's not only been done before, but
> better. My opinion: lots of conventional skill, but no creativity. I have
> no emotional reaction to it.
that is the problem with you people:
"no emotional reaction" (who cares?) -
but
what about mental reaction ???
Weaving the Conundrum
-=| NOUMENON |=-
Noumenon
> How someone can dare to be 100% copy of Dali, Picasso etc?
Very bad & wrong reference in this particular case.
Zademack can be influenced by Dali quite a lot,
but he does not even try to repeat Dali or be anyone's copy.
Never mind symbols and similar approach, they tell different stories.
Zademack operates with elements and ways of surrealism work but he is a way
closer to SYMBOLISM.
Surrealism (in general) as well as late Dali (metahysical art) is absolutely
different things.
One can see it in a second.
Probably you need to patch your art education (more gaps and holes that one
may suspect)
and just develop observation skills (as well as logic)! - no offense here!
Sad but true.
----------------
> I mean,where is originality?
Oh-oh! You still sis not understand simple thing that art is appreacited by
its contents not by
how showy "original" it is.
Just because so many ignorant ambitious people want to create something
"original" -
we have tons or worthless crap everywhere made by people like insane Pollock
who, probably in his poignant attempts to
add "originality" to his art, was pissing on freshly painted canvases.
Which are so much adored by bunch of pseudo-intellectual nobodies swarming
around them like flies around toilet...
----------------
> [skipped].... full of inspiration and spiritus movens for fresh ideas.
Why not to show us some art FULL of IDEAS ?
Give some links here so people can see and enjoy IDEAS.
Better see than hear, all talks are too cheap.
Let's see images!
----------------
Noumenon
talking about really scary things in SURREALISM as schyso-paranoic things -
the best artist ever known is Polish painter Zdzislaw Beksinski
-- samples of his work:
http://art.gothic.ru/paint/beksinski/show_e.htm?72.jpg
http://art.gothic.ru/paint/beksinski/show_e.htm?60.jpg
-- one of image collections:
http://www.assoziations-blaster.de/home.c2i.net/farscape/Beksinski/Beksinski.html
etc etc
john adams
"mdeli" <n...@mail.com> wrote in message news:3d28db84...@news1.on.sympatico.ca...
> On Sun, 07 Jul 2002 22:16:16 GMT, "john adams"
> <johnqa...@yahoo.com> wrote:
>
>
> > You
> >seem content in giving advice to capitalize on one's
> >abilities as soon as possible ("Cash in on your abilities as
> >early as you can"). "Education is a temporary state of affairs",
> >you might say. Actually just substitute in the word school, to
> >be precise. You seem only able to think in terms of competence,
> >inferiority or superiority, and art as profession.
> >
> >While we may agree about the rhetoric of modern art institutions and
> >their outrageous price tags, I see your attack on all art commentary
> >in general, and this woman's work with patients in particular, as
> >inappropriately acidic and somewhat .
> >
>
> >It's no suprise that you don't find interest in the activity of the
> >mental process and the artwork that is a product of it.
>
> Do tell us what the painting has to do with the "activity of the
> mental process?"
All paintings generally have to do with the activity of mental process,
at some level or another. Just like mowing the lawn or making beds.
> >While we may agree about the rhetoric of modern art institutions and
> >their outrageous price tags, I see your attack on all art commentary
> >in general, and this woman's work with patients in particular, as
> >inappropriately acidic and somewhat dimsighted.
>
> I just praised a surrealist painter in a previous message. I didn't
> attack this woman's work with patients.
I'm not saying you attacked her work with patients. Rather, that you
essentially wrote her work off with patients as translated into paintings
as bogus, or "Artspeak".
> She wrote
> >>snip-- This painting is an attempt to portray the progressive
> >> loss of self-awareness and orientation I witness in many of my
> >> patients.
>
> So tell us if the painting does that for you? Or is it a failed
> attempt?
I suppose part of her method might entail a reorientation of the senses.
Is it successful in portraying her patient's loss of orientation and
awareness? No. But her own? Probably. I wouldn't mind seeing
more examples and having them presented to us with a better
resolution.
> >>To more fully capture the altered level of awareness, I
> >> apply my paint in a manner consistent with this layering of thought.
> >> Using palette knives to vary surface texture, I diversity form and
> >> create altered perspectives to respect the fluctuation between moments
> >> of clarity and ambiguity." -MP
> >>
> In other words, she uses this technique, "To more fully capture the
> altered level of awareness." I guess this sounds sensible to you.
I think what she is essentially saying is that when she records the moment on
to canvas, it is at the point in which she has disassociated with traditional modes
of everyday thought; perhaps it is in search of an irrational logic, akin to what
her patients might experience.
> >> The artist is a Professor's Assistant in the Department of Painting
> >> and Drawing at Arizona State University and maintains a studio in
> >> Tempe, Arizona
> >>
> >> I wonder if the Prof is even worse.
> >>
> Must be a great department.!
Would you regard your works as superior ones?
> Tired of Modern Art? Check out my web page
>
> http://www3.sympatico.ca/manideli/
john
Noumenon
Well, I know Gil Bruvel and once I had rather huge pile of his prints (on
paper).
He is very good, but he is a little bit on commercial side and he seems to
be repeating
the same things because they are commercially successful.
For example - Michael Parkes
(probably most famous American artist represented only by Steltman gallery
-- http://www.steltman.com )
repeats many things as well, and yet he does not seem to be on lucrative
side on purpose.
Lost of erotic stuff, clowns and cirus attributes and other simple symbols
- but he is very differetn from Bruvel
and regarded much higher.
Gil Bruvel had very nice pencil drawings (he does not do them any more
unfortunately) but he switch to computerized
stuff and this does not do him any good.
To some extent I share your concern about artists getting too lazy and
looking for easier ways to produce art with computers....
>> James Christenson
Don't remember this name, I have poor memory (probably I saw his art)
I will look it up.
Dale Houstman
> Dan Fox wrote:
>
> > Winston - I think you've got it. It's not only been done before, but
> > better. My opinion: lots of conventional skill, but no creativity. I
have
> > no emotional reaction to it.
>
> that is the problem with you people:
> "no emotional reaction" (who cares?) -
> but
>
> what about mental reaction ???
>
>
>
my "mental reaction" to the paintings, so we're not all looking for a little
emo.
dmh
mdeli
<johnqa...@yahoo.com> wrote:
>> Do tell us what the painting has to do with the "activity of the
>> mental process?"
>
>All paintings generally have to do with the activity of mental process,
>at some level or another. Just like mowing the lawn or making beds.
Very informative!
>> She wrote
>> >>snip-- This painting is an attempt to portray the progressive
>> >> loss of self-awareness and orientation I witness in many of my
>> >> patients.
>>
>> So tell us if the painting does that for you? Or is it a failed
>> attempt?
>
>I suppose part of her method might entail a reorientation of the senses.
>Is it successful in portraying her patient's loss of orientation and
>awareness? No. But her own? Probably. I wouldn't mind seeing
>more examples and having them presented to us with a better
>resolution.
I would say that you are both sound confused.
>> >>To more fully capture the altered level of awareness, I
>> >> apply my paint in a manner consistent with this layering of thought.
>> >> Using palette knives to vary surface texture, I diversity form and
>> >> create altered perspectives to respect the fluctuation between moments
>> >> of clarity and ambiguity." -MP
>> >>
>> In other words, she uses this technique, "To more fully capture the
>> altered level of awareness." I guess this sounds sensible to you.
>
>I think what she is essentially saying is that when she records the moment on
>to canvas, it is at the point in which she has disassociated with traditional modes
>of everyday thought; perhaps it is in search of an irrational logic, akin to what
>her patients might experience.
Sounds like you are essentially as confused by what she is talking
about as I am.
>
>> >> The artist is a Professor's Assistant in the Department of Painting
>> >> and Drawing at Arizona State University and maintains a studio in
>> >> Tempe, Arizona
>> >>
>> >> I wonder if the Prof is even worse.
>> >>
>> Must be a great department.!
>
>Would you regard your works as superior ones?
Superior to what?
Dale Houstman
> On Mon, 08 Jul 2002 02:04:49 GMT, "john adams"
> <johnqa...@yahoo.com> wrote:
>
> >> Do tell us what the painting has to do with the "activity of the
> >> mental process?"
> >
> >All paintings generally have to do with the activity of mental process,
> >at some level or another. Just like mowing the lawn or making beds.
>
> Very informative!
You miss the point: the reason john's examples are so banal is that the
original question is so ignorant. And yet what he says is true, and directly
answers the question.
>
dmh
mdeli
>>> Gil Bruvel http://www.bruvel.com
>
>
>Well, I know Gil Bruvel and once I had rather huge pile of his prints (on
>paper).
>He is very good, but he is a little bit on commercial side and he seems to
>be repeating
>the same things because they are commercially successful.
I see a style not repetition. I think his later work is even finer.
>For example - Michael Parkes
>(probably most famous American artist represented only by Steltman gallery
>-- http://www.steltman.com )
>repeats many things as well, and yet he does not seem to be on lucrative
>side on purpose.
>Lost of erotic stuff, clowns and cirus attributes and other simple symbols
>- but he is very differetn from Bruvel
>and regarded much higher.
I have seen his posters in NY. But I've not seen many of his works.
>Gil Bruvel had very nice pencil drawings (he does not do them any more
>unfortunately) but he switch to computerized
>stuff and this does not do him any good.
In my opinion Bruvel uses pixelization extensively. I like what he
does with the computer.
>To some extent I share your concern about artists getting too lazy and
>looking for easier ways to produce art with computers....
The computer is a modern tool. If the artwork looks lazy its because
the artist doesn't know his craft, not because he used a computer. Its
the final result that counts not how it was done.
Take a look at Kurt Wenner at http://www.dodger.com/Wenner/
Also I presume you are familiar with the Vienna school- Fuchs, Hutter
etc.
There are so many fine artists now and new ones keep popping up
surprising me. One of the finest Canadian artists is Ralle but I can't
find his work on the net.
john adams
"mdeli" <n...@mail.com> wrote in message news:3d291e25...@news1.on.sympatico.ca...
> On Mon, 08 Jul 2002 02:04:49 GMT, "john adams"
> <johnqa...@yahoo.com> wrote:
>
> >> Do tell us what the painting has to do with the "activity of the
> >> mental process?"
> >
> >All paintings generally have to do with the activity of mental process,
> >at some level or another. Just like mowing the lawn or making beds.
>
> Very informative!
Atleast now you know...
> >> She wrote
> >> >>snip-- This painting is an attempt to portray the progressive
> >> >> loss of self-awareness and orientation I witness in many of my
> >> >> patients.
> >>
> >> So tell us if the painting does that for you? Or is it a failed
> >> attempt?
> >
> >I suppose part of her method might entail a reorientation of the senses.
> >Is it successful in portraying her patient's loss of orientation and
> >awareness? No. But her own? Probably. I wouldn't mind seeing
> >more examples and having them presented to us with a better
> >resolution.
>
> I would say that you are both sound confused.
Look who's talking? And I don't mean the movie.
Anyway, it is simple as far as surrealist discussion might go, but
goes right over your head.
-john
Noumenon
You seem to enjoy insulting people you don't know and, more than that,
wouldn't ever dare to go against - in person ?
My harmless addressing like "you people" - you tend to consider offensive?
And it gives you any right to start barking in response?
Hmmm. Serious problems with self-esteem and defective oppressed ego, no
doubt.
No doubt, a little bit of insulting and cursing always lulls defective &
twisted psychology.
It's very sad that there are so many impudent twerps, measly cads and fetid
plebeians,
who are so brave in jumping at people via Internet...
Noumenon
> I mean,where is originality?
----------------
Weaving the Conundrum
-=| NOUMENON |=-
Noumenon
> I see a style not repetition. I think his later work is even finer.
well, it's kind of natural:
the more artist works - the better & more refined technique he gets!
But I liked CONTENTS of Bruvels' earlier works more than what he does now,
even if his
late works are better implemented with or without computer...
> Take a look at Kurt Wenner at http://www.dodger.com/Wenner/
Looks rather intersting, but I couldn't go deeper,
main links like "gallery" and "resume" spit out "404 Error", pages not
found...
Strange!
> Also I presume you are familiar with the Vienna school- Fuchs, Hutter
> etc.
Of course, I know. Fuchs is too big artist in Europe
(one of most popular, most profound, best and successful)...
Once I wanted to go to his seminar he is regularly giving in his castle in
Austria...
But it was hmmm.... too expensive for me then.
But then again - I like his earlier works more.
mdeli
>> Take a look at Kurt Wenner at http://www.dodger.com/Wenner/
>
>Looks rather intersting, but I couldn't go deeper,
>main links like "gallery" and "resume" spit out "404 Error", pages not
>found...
>Strange!
>
Yes , the only place I saw reasonable reproductions and a good article
were in Juxtapose Magazine (around April issue, not sure).
>
>> Also I presume you are familiar with the Vienna school- Fuchs, Hutter
>> etc.
>
>Of course, I know. Fuchs is too big artist in Europe
>(one of most popular, most profound, best and successful)...
>
>Once I wanted to go to his seminar he is regularly giving in his castle in
>Austria...But it was hmmm.... too expensive for me then.
>
>But then again - I like his earlier works more.
>
I only really like his early work. Everything later, at least what I
have seen is increasingly inferior. I think fame has gone to his head
and he has gotten very lazy.
Noumenon
> I only really like his early work. Everything later, at least what I
> have seen is increasingly inferior. I think fame has gone to his head
> and he has gotten very lazy.
Well, there is time factor as well,
Fuchs is not young...
he has been making art for decades,
and, undoutedly, he might be quite tired
and might have exhausted all his ideas and energy as well.
Time does not spare anyone...
He does some teaching though and that is good.
Todd Strickland
> ----------------
> > How someone can dare to be 100% copy of Dali, Picasso etc?
>
> Very bad & wrong reference in this particular case.
>
> Zademack can be influenced by Dali quite a lot,
> but he does not even try to repeat Dali or be anyone's copy.
I've got to agree with Nina. There's "influence" and then there's
"derivative." It may be difficult to say exactly where one ends and
the other begins, but wherever that elusive line may lie, Zademack has
obviously flown headlong over it. His work is highly derivative of Di
Chirico, Dali, and Magritte. It is SO derivative that it distracts
from whatever originality Zademack may have to offer; I found myself
saying, "Oh, he got that from Dali," or "That looks alot like Di
Chirico," before saying, "Nice technique, interesting idea."
>
> Never mind symbols and similar approach, they tell different stories.
> Zademack operates with elements and ways of surrealism work but he is a way
> closer to SYMBOLISM.
Maybe were just arguing semantics here, but it looks a lot closer to
surrealism to me than symbolism. But it's minor-league surrealism,
the day dream whimsy of a bored mind, not a probing analysis of the
modern psyche.
>
> Surrealism (in general) as well as late Dali (metahysical art) is absolutely
> different things.
>
> One can see it in a second.
> Probably you need to patch your art education (more gaps and holes that one
> may suspect)
> and just develop observation skills (as well as logic)! - no offense here!
> Sad but true.
> ----------------
>
> > I mean,where is originality?
>
> Oh-oh! You still sis not understand simple thing that art is appreacited by
> its contents not by
> how showy "original" it is.
You are abusing this word "originality." Nina's point is that
Zademack is cashing-in by ripping-off other famous artists, not that
"originality" is the end-all-be-all of art appreciation. I don't see
much depth in Zademack's work. The thing which most stands out about
it is it's heavy stylistic reliance on other people's work. Yes, it
is technically fairly good, but that (and that alone) has never
counted for much in fine art. Artists who make a career out of doing
what Zademack does have always been criticized for it, even long
before Modernism.
>
> Just because so many ignorant ambitious people want to create something
> "original" -
> we have tons or worthless crap everywhere made by people like insane Pollock
> who, probably in his poignant attempts to
> add "originality" to his art, was pissing on freshly painted canvases.
Pollock, far from bragging about "originality," was quick to point out
the various sources for his work; surrealist automatism,
Native-American sand painting, cubist oriented conception of "space."
He has reworked these various sources in a stunningly original way
(that's where the value of "originality" comes to play), but the works
are not admired SIMPLY because they are "original."
Pollock, although not trying to be a surrealist, per se, is still far
closer to it than Zademack.
>
> Which are so much adored by bunch of pseudo-intellectual nobodies swarming
> around them like flies around toilet...
Well, this pseudo-intellectual nobody is off to Thailand for a week,
so I won't be able to answer Mani's inevitable response. I'll leave
it to my pseudo-intellectual-nobody brothers and sisters.
Todd Strickland
Andrew D
Fox) wrote:
+Judging from the work on the home page, Herr Wenner should've taken some
+figure drawing courses. The musculature on the man in the foreground of the
+circular piece on the upper left of the page has never seen on a human
+being.
Rules, rules and more rules. Just don't tell him to colour within the
lines or keith will have you. ;)
But now that you've raised the issue of real world anatomy and Wenner's
failure to adequately capture it, I must ask - does your window really
have a view like that shown in your paintings Dan?
Andy D.
"I'm a great speller - but a hopless tpyist!"
Andrew D
Fox) wrote:
+right@the_end.of.my_tether (Andrew D) wrote:
+> In article <20020709075735.312$w...@newsreader.com>,
+>>
+> Rules, rules and more rules. Just don't tell him to colour within the
+> lines or keith will have you. ;)
+>
+> But now that you've raised the issue of real world anatomy and Wenner's
+> failure to adequately capture it, I must ask - does your window really
+> have a view like that shown in your paintings Dan?
+
+My God, Andy, you have got to be the biggest fucking imbecile ever to write
+nonsense in this group. Mani seems astute by comparison. Learn some art
+history, you cretinous douchebag, so you can at least be vaguely aware of
+different artistic styles - like realism and abstraction, for example.
Sorry Dan, I didn't see that nerve there. I can't figure out which camp
you're in - are you in the "there are no rules, it's all interpretation"
camp or the "rules and skill matter" camp?
Andrew D
ArtE...@NOSPAM.concentric.BLOCK.net wrote:
[snip]
+Looks rather intersting, but I couldn't go deeper,
+main links like "gallery" and "resume" spit out "404 Error", pages not
+found...
+Strange!
Change the "G" in Gallery.html to a "g" ...."gallery.html"
mdeli
(Andrew D) wrote:
>> But now that you've raised the issue of real world anatomy and Wenner's
>> failure to adequately capture it, I must ask - does your window really
>> have a view like that shown in your paintings Dan?
>
>My God, Andy, you have got to be the biggest fucking imbecile ever to write
>nonsense in this group. Mani seems astute by comparison. Learn some art
>history, you cretinous douchebag, so you can at least be vaguely aware of
>different artistic styles - like realism and abstraction, for example.
>
Apparently anyone who asks Fox embarrassing questions like that
doesn't know art history and is a ----.
Dan doesn't look out the window to see his schmiers. They are a
hallucinatory result of his superior education and university
certificates.
mdeli
>Judging from the work on the home page, Herr Wenner should've taken some
>figure drawing courses. The musculature on the man in the foreground of the
>circular piece on the upper left of the page has never seen on a human
>being.
>
Gee Fox what an amazing observation. I'm sure someone without your
pedigree wouldn't notice this. Perhaps if he took the informative
university courses you did he might get his blobs as correct as yours.
How about Bottero. Do tell him a thing or two.
Morpheal
> One time I wondered why nobody likes you here, Dan.
They like Dan here, when I arrive. I give them something new to hate.
They need that. That gives Dan some time off from his job. Luckily for
me being hated is only a hobby. I never had the chance to do it
professionally. Much to my economic horror. I would have been much
better of to make a career out of it.
> You seem to enjoy insulting people you don't know and, more than that,
> wouldn't ever dare to go against - in person ?
It's worse here, on the net. This is SPIRITUAL. Out there it is ONLY
material. Meet the new weltgeist. (Pardon the likely mispelling, but
you get the idea.)
> My harmless addressing like "you people" - you tend to consider offensive?
So, "we the people" becomes "you [the] people"... It seems so
appropriate, addressing them that way. Very declarative....and
traditional as to forms of address. Considerably more formal than
"hey youze bums"....
> No doubt, a little bit of insulting and cursing always lulls defective & twisted psychology.
Healthy minds never think negative thoughts, and always say nice things
about everyone else. Ah, huh, and have you swallowed your soma pill
today, Mr. Brave New World ?
> It's very sad that there are so many impudent twerps, measly cads and fetid plebeians, who are so brave in jumping at people via Internet...
Oh, hoy poloy... He must have come down from that other fabled tier,
from his mansion in the sky...
His Majesty
Noumenon
> being hated is only a hobby. I never had the chance to do it
> professionally.
Quite so. Thank Mr.Destiny for not having this chance because you will not
last long.
Human patience and tolerance are not that elastic and do not stretch for
ever, when they snap -
number of morgue inhabitants usually increases.
Unless that is your cunning plan.
------------------------
N>> You seem to enjoy insulting people you don't know and, more than that,
N>> wouldn't ever dare to go against - in person ?
> It's worse here, on the net. This is SPIRITUAL. Out there it is ONLY
> material.
Come, come. There is NOTHING spiritual about Internet and its use in any
form.
It's quite brain-mortifying activity altogether.
Not a tithe of anyone's spirit is involved in ecstatic exchange of insults
and obloquy,
or vague argumets drawn for the same purpose.
---------------------------
N>> My harmless addressing like "you people" - you tend to consider
offensive?
> So, "we the people" becomes "you [the] people"... It seems so
> appropriate, addressing them that way. Very declarative....and
> traditional as to forms of address. Considerably more formal than
> "hey youze bums"....
Nothing of the kind.
Exhagerration of this sort is quite inappropriate.
You missed sub-context, I am afraid.
Evidently there are quite few "camps" having adverse positions and views and
I addressed particular "group" of which Dan Fox seems to be a assidious
leader.
Details are too boring to describe...
Morpheal
> Quite so. Thank Mr.Destiny for not having this chance because you will not last long.
I'll kill Mr. Destiny if I ever get my hands around his evil throat.
I'd rather use a piano wire, but likely when I meet MR. Destiny I won't
have a piano wire handy enough.
Killing him might be the only truly free act left.
> Human patience and tolerance are not that elastic and do not stretch for ever, when they snap - number of morgue inhabitants usually increases. Unless that is your cunning plan.
Unless you are Jewish, then I suppose you simply go and wail at the
wailing wall, or something along those lines. For the rest of us, what
you say might be somewhat true. Though there are other ways of
expressing it other than filling the morgue. Few ever go that far, but
short of that society is a very brutal place of short tempers and true
believers, mostly misguided into following whatever peculiar demons
happened to get caught in their particular earlobes.
They usually lack the specialized training necessary for them to be
anything other than headless automatons.
R.M.
david anthony magitis
mdeli
>Pollock, far from bragging about "originality," was quick to point out
>the various sources for his work; surrealist automatism,
>Native-American sand painting, cubist oriented conception of "space."
>He has reworked these various sources in a stunningly original way
>(that's where the value of "originality" comes to play), but the works
>are not admired SIMPLY because they are "original."
They are mainly admired because of Artspeak bullshit. No paint drip is
original. People have been dripping paint since its invention.
>Pollock, although not trying to be a surrealist, per se, is still far
>closer to it than Zademack.
I agree. Anyone who can convince a bunch of academic blowbags that a
piece of cloth full of paint dribbles is great art is surrealistic, at
least as far as snake oil is concerned.
Todd Strickland
> (Todd Strickland) wrote:
> >Pollock, far from bragging about "originality," was quick to point out
> >the various sources for his work; surrealist automatism,
> >Native-American sand painting, cubist oriented conception of "space."
> >He has reworked these various sources in a stunningly original way
> >(that's where the value of "originality" comes to play), but the works
> >are not admired SIMPLY because they are "original."
>
> They are mainly admired because of Artspeak bullshit.
I admired them before I ever read a word about them. I guess you're more
moved by "Artspeak bullshit" than me.
> No paint drip is
> original. People have been dripping paint since its invention.
I think you need some new reading glasses, Mani. I just said that
originality, in the sense of "being the first," is NOT the reason his works
are admired, and that in fact, Pollock himself was quick to point out that
he was not the first to make images in this fashion. Your rejoinder? "No
paint drip is original." Isn't that what I just said?
The idiocy of your response moves me to ponder the subtlety of the human
mind; is your answer a non sequiter, a strawman argument, or early stage
Alzheimer's?
>
> >Pollock, although not trying to be a surrealist, per se, is still far
> >closer to it than Zademack.
>
> I agree. Anyone who can convince a bunch of academic blowbags that a
> piece of cloth full of paint dribbles is great art is surrealistic, at
> least as far as snake oil is concerned.
Much like the proverbial painting chimpanzees you're so enamored of, your
response shows that although you can ape surrealism in your own painting,
you haven't got a clue what it's about.
Todd Strickland
mdeli
I wrote:
>> I agree. Anyone who can convince a bunch of academic blowbags that a
>> piece of cloth full of paint dribbles is great art is surrealistic, at
>> least as far as snake oil is concerned.
>
>Much like the proverbial painting chimpanzees you're so enamored of
Chimpanzees painting is far better than Pollock. They just aren't
allowed in museum because they lack the necessary connections.
> your
>response shows that although you can ape surrealism in your own painting,
>you haven't got a clue what it's about.
I suppose you are a surrealism expert. I find surrealist theory just
as stupid as most other Modern Academic Art theory. Much of what I
have read on the matter is the usual Artspeak.
In the visual arts surrealism is a species of subject matter. It puts
real objects in an unreal context. Its success or failure is a matter
of how well it is executed. Much modern surrealism is ordinary
no-skill-realism.
Surrealism is not an invention of any artist or group and is as old as
art. Most of the finest modern illustration is surreal in subject
matter.
In that sense it is dreamlike and beyond everyday realism. That is my
only connection to surrealism which as a format I vastly prefer to all
the Modern Academic flat abstract schmiering considered original by
the average Modern Academic fundamentalist.
Pollock's work is no more surrealistic than abstract floor covering.
Brandon Freels
> I find surrealist theory just as stupid as most
> other Modern Academic Art theory.
You need this:
Surrealism FAQ
Version 1.1 (February 2001)
TABLE OF CONTENTS
Table of Contents
Introduction
What is Surrealism?
1.1 Pure Psychic Automatism
1.2 A Short Introduction to the Surrealist Movement
The Surrealist Revolution
2.1 Politics
2.2 Art and Literature
Surrealist Explorations: Play and Creativity
3.1 Automatism
3.2 Forced Inspiration
3.3 The Surrealist Collage
3.4 The Surrealist Object
3.5 Games
Some Surrealist Concepts
4.1 Black Humor
4.2 The Marvelous
4.3 Mad Love
4.4 Miserablism
The Periphery: Precursors, Fellow Travelers, et al.
5.1 George Bataille
5.2 Dada
5.3 Salvador Dali (Avida Dollars)
5.4 The Occult
5.5 Oulipo
5.6 Pataphysics
5.7 Psychoanalysis
5.8 Situationist International
Appendix
6.1 Further Reading in English
6.2 Online Documents
6.3 Online Surrealist Groups
6.4 Online Surrealist Resources
6.5 FAQ Acknowledgements
INTRODUCTION
Thanks to the common misrepresentations spread throughout the Internet and
academia by individuals hoping to reorient its focus Surrealism is often
misunderstood as an artistic style, a literary movement, a form of mystical
escapism into a world of illusions, convenient weirdness, and a variety of
other banalities. This Frequently Asked Questions was produced to combat the
onslaught of such disinformation. It will be regularly posted to
alt.surrealism, an open forum for discussion and a dumping ground for
anything that falls within the scope of Surrealist interest.
"Perhaps the greatest danger threatening Surrealism today is the fact that
because of its spread throughout the world, which was very sudden and rapid,
the word found favor much faster than the idea." ---André Breton, Surrealist
Situation of the Object
"Surrealism has declared, in every authentic manifestation, its commitment
to revolution; the displacement of the real import of the word by
inhibitions in the writings of college teachers does not alter that
commitment in the slightest. It merely means that there is promulgated the
illusion that critics have something to add." ---The Chicago Surrealist
Group, reply to The New York Review of Books
WHAT IS SURREALISM?
1.1 Pure Psychic Automatism
Pure Psychic Automatism is the primary and natural condition of the mind and
all its faculties free from the interference of external constraints such as
rationalism, aestheticism, utilitarianism, and religious superstition. This
autonomy is achieved only when the socially constructed apparatuses of
repression are dismantled and those ostracized characteristics of the mind
(innovative imagination, uncompromised desire, and so on) are reintegrated
into everyday life, delivering the mind to a state of free development and
spontaneity. It is in this state, where the individual has regained the
primeval senses, that the mind can move forward to an untainted awareness of
existence, which is the most complete experience of reality---a surreality.
Pure Psychic Automatism is synonymous with Surrealism.
"SURREALISM, n. Psychic automatism in its pure state, by which one proposes
to express---verbally, by means of the written word, or in any other
manner---the actual functioning of thought. Dictated by thought, in the
absence of any control exercised by reason, exempt from any aesthetic or
moral concern." ---André Breton, Manifesto of Surrealism
"Surrealism is not a new means of expression, or an easier one, nor even a
metaphysics of poetry. It is a means of total liberation of the mind and of
all that resembles it ... Surrealism is not a poetic form. It is a cry of
the mind turning back on itself, and it is determined to break apart its
fetters, even if it must be by material hammers!" ---Declaration of January
27, 1925
"Surrealism, a unitary project of total revolution, is above all a method of
knowledge and a way of life; it is lived far more than it is written, or
written about, or drawn. Surrealism is the most exhilarating adventure of
the mind, an unparalleled means of pursuing the fervent quest for freedom
and true life beyond the veil of ideological appearances." ---Franklin
Rosemont, Andre Breton and the First Principles of Surrealism
1.2 A Short Introduction to the Surrealist Movement
The Surrealist Movement was founded in Paris in 1924 for the sole purpose of
changing reality through the dissolving of orthodoxy, the liberation of the
mind, and the reintegration of the inner necessities with the exterior life.
Opening the Bureau of Surrealist Research and eventually publishing two
journals (The Surrealist Revolution and Surrealism in the Service of the
Revolution) the original group's initial focus was on uncovering and
exploring the techniques that capture the real functioning of thought. In
their program these investigations (from sleeping trances to automatic
writing) were adjoined to scalding critiques of both the repressive art and
literature of the time and the culture of rationalism in general.
Through the 1930s the movement continued to grow in infamy and influence
with groups appearing in the United Kingdom, Japan, Yugoslavia,
Czechoslovakia, Romania, Belgium, Portugal, Egypt, and a variety of other
countries. This fecund period ended with the Second World War, when the
Paris surrealists were dispersed or detained. Following the war the movement
found itself fragmented. André Breton could only partially reconstitute the
Paris group, as its former members were no longer on a common course.
Opposition to Breton's increasing interest in esotericism led to splinter
groups and competitors, such as Isadore Isou's Lettrist Movement and CoBrA.
In 1966, with the approval of Breton, the first indigenous surrealist group
in the United States was formed in Chicago by Paul Garon and Franklin and
Penelope Rosemont, which has remained the most visible group writing in
English, printing a variety of publications such as their journal Arsenal:
Surrealist Subversion. In September of 1966 Breton died and in March of 1969
the Paris group officially disbanded. However, the majority of the group
reemerged in 1970 with the Bulletin de Liaison Surrealiste.
Today the movement is a decentralized and international constellation of
groups and individuals committed to Surrealism's resilient principles. It
remains a work in progress, and along with the older collectives (in Paris,
Chicago, and Prague), smaller groups of surrealists continue to form around
the globe to work in the margins. Among recent groups are those in
Stockholm, Leeds, Madrid, Argentina, Wisconsin and Minnesota. Whether these
groups will only change the individuals involved or if they can have a
broader impact is a question of little importance. Rather, they are certain
that the drive for liberty is unstoppable, and that a revolution that
redresses the human condition will necessarily be surrealist.
THE SURREALIST REVOLUTION
The two principle expressions of the movement's thrust for complete freedom
are its political nature and its creative output: the first of which
criticizes culture for repressing the internal necessities, and the second
of which seeks to release them.
2.1 Politics
The movement's political stance, which developed out of Dada's spirit of
revolt and vague anarchism, hardened in 1925 as a response to the resurgence
in French patriotism and militarism when France sent an army to put down an
independence movement in Morocco. Resolving that a revolution in
consciousness cannot transpire independent of a revolution in man's material
condition the Paris surrealists began an association with the Communist
Party. During their brief alliance with associates of the hard line Clarté
periodical, who were uniquely sympathetic to surrealist stands and who
shared a common goal in working to subvert bourgeois culture, efforts by the
surrealists to demonstrate their Party loyalty were repaid with belittlement
and interrogations. To the Communist Party their synthesis of Marx and Freud
was an obstacle to total commitment to the Party.
In addition, there was a conflict over the direction of revolutionary art.
The Communist International had developed the concept of "proletarian
literature," which reduced art to the role of propaganda, and later the
Soviet Writers Congress officially adopted the doctrine of "socialist
realism," which the surrealists denounced as an attempt to enclose art's
revolutionary message in the conservative forms of 19th century bourgeois
aesthetics, entirely antithetical to creativity. The surrealists argued that
art's revolutionary value cannot be reduced to its obvious manifest message.
The artist requires absolute freedom to create new means of expression and
deal with such fundamental matters as psychology and sexual freedom,
concerns the Communist Party considered decadent. Through the 1930s the
surrealists grew more distant from the French Left and from Moscow, and in
1935 they broke away from the Communist Party altogether.
By the late 1930s, fascism had risen in Germany, Italy and Spain with the
complicity of the western democracies, themselves having become increasingly
oppressive. The surrealists continued to issue statements denouncing French
policy on the Spanish Civil War, the Moscow trials of the Stalinist purge,
and the Munich talks. In 1938, Breton and Leon Trotsky proposed the creation
of F.I.A.R.I. (Fédération internationale de l'art révolutionnaire
indépendant), an international association of Marxists and anarchists to
pursue a revolutionary art opposed to the decree of fascist dictatorship,
bourgeois democracy, capitalism (art for art's sake), and Stalinism (social
realism). Though hopelessness was setting in among anti-war activists,
F.I.A.R.I. groups were organized in France, Mexico, Argentina, England and
the U.S. The Paris group started a review, Clé, which lasted but two issues,
just long enough to record the deteriorating political climate.
Since the 1940s surrealism has remained non-aligned, often affiliating with
and supporting a variety of revolutionary movements that oppose the existing
conditions of the social, political, and cultural order, and issuing
opinions on contemporary political matters (such as advocating for world
disarmament, denouncing French colonialism in Indochina and Algeria,
protesting the Soviet intervention in Hungary, applauding the outset of the
Cuban Revolution before it was aligned with Russia, and, more recently,
siding with those responsible for the Los Angeles Rebellion of 1992). In its
modern development the political position of Surrealism can be summed up by
the finale of the Chicago Group's Declaration of War (1971):
"Let us speak plainly. Until the last convict is out of prison and the last
'madman' out of the asylum; until the last army has been disbanded and the
last government overthrown; until the last church has been burned and the
last bank pulverized; until the last capitalist and the last cop have been
hanged to death with the guts of the last politician and the last priest;
that is, until men and women are truly free, surrealism will continue
relentlessly to provide miraculous weapons with which to struggle for this
freedom."
2.2 Art and Literature
For the surrealist the use of art and literature is unconditionally directed
at the unleashing and exploring of the imagination, free from such retarding
devices as premeditation and aesthetics, so that the work can be ruled by
desire alone and cover, as Breton stated in Surrealism and Painting, "the
whole psychophysical field (in which consciousness constitutes only a very
small segment)." The surrealist use of art and literature stands opposed to
the notion of talent and the domination of so-called specialists. Following
in the footsteps of Lautréamont's famous maxim that "poetry must be made by
all," surrealists appreciate art and literature for their ability to
manifest the individual's internal and emotional order, and believe that
everyone has the capacity and necessity to create.
"... surrealist painters, who are poets, always think of something else. The
unprecedented is familiar to them, premeditation unknown. They are aware
that the relationships between things fade as soon as they are established,
to give place to other relationships just as fugitive. They know that no
description is adequate, that nothing can be reproduced literally. They are
all animated by the same striving to liberate the vision, to unite
imagination and nature, to consider all possibilities a reality, to prove to
us that no dualism exists between the imagination and reality, that
everything the human spirit can conceive and create springs from the same
vein, is made of the same matter as his flesh and blood, and the world
around him." ---Paul Éluard, Poetic Evidence
"The art of painting, as I conceive of it, consists in representing through
pictorial technique the unforeseen images that might appear to me at certain
moments, whether my eyes are open or shut." ---Rene Magritte, from a letter
to Mr. and Mrs. Barnet Hodes
"Centuries from now, any art that takes new paths toward a greater
emancipation of the mind will be Surrealist." ---Andre Breton, from an
interview with Jose M. Valverde
SURREALIST EXPLORATIONS
3.1 Automatism
Automatism is a behavior of the body whereby subverting the restraint of
consciousness an individual is compelled to perform involuntary motor or
verbal activities. It can be achieved through a variety of techniques, the
best known being the practice of automatic writing which Freud advocated as
a way of getting around self-censorship. This technique originated with the
Spiritualists who were the source of the trance sessions and other devices
employed by the surrealists. The surrealist use of these devices, it is
worth remembering, is not one of Freudian therapy or absurdities like
communicating with the dead, but for liberating the imagination. The results
of automatism can be found in the paintings of Joan Miro and André Masson,
in André Breton and Philippe Soupault's The Magnetic Fields, and in the
sleeping trances of Robert Desnos. It is a common misconception that
surrealists object to any revision of a text that has been written
automatically. In fact, after the initial experiment of The Magnetic Fields
automatic texts have been habitually edited.
"The whole point, for Surrealism, was to convince ourselves that we had got
our hands on the 'prime matter' (in the alchemical sense) of language. After
that, we knew where to get it, and it goes without saying that we had no
interest in reproducing it to the point of satiety; this is said for the
benefit of those who are surprised that among us the practice of automatic
writing was abandoned so quickly." ---André Breton, On Surrealism and Its
Living Works
"I resolved to obtain from myself ... a monologue spoken as rapidly as
possible without any intervention on the part of the critical faculties, a
monologue unencumbered by the slightest inhibition and which was, as closely
as possible, akin to spoken thought." ---André Breton, Manifesto of
Surrealism
3.2 Forced Inspiration
Forced Inspiration is the liberation of imaginative associations through the
suggestive quality of a particular perception that gives way to the
dictation of the internal and emotional order, revealing the veiled-erotic.
This method of creative interpretation, which has been utilized in the
teachings of Leonardo da Vinci, in the everyday activity of cloud watching,
and in psychoanalysis through the Rorschach Ink-Blot Test, was first used
within the realm of Surrealism by Max Ernst who theorized in his Beyond
Painting a technique called Frottage, whereby crayon or graphite is rubbed
on paper which as been placed over an object or texture with the hopes of
revealing or inspiring an image. Since then a number of similar techniques
all focused on revealing or inspiring previously unforeseen images out of
ambiguity have developed, such as: Decalcomania (pressing paper on a
non-absorbent surface of which gouache, ink, or oil paints have been spread,
originated by Oscar Dominquez), Fumage (passing paper over a smoking candle,
originated by Wolfgang Paalen), and Grottage (scrapping paint from the
surface of a painting, originated by Ernst). Salvador Dali's
Paranoiac-Critical Method is also an example of Forced Inspiration, but its
imaginative associations do not come from an ambiguous source, instead they
come from a more defined perception, creating a double image or even a chain
of images. Forced Inspiration is synonymous with Interpretive Delirium.
3.3 The Surrealist Collage
The Surrealist Collage is a method of gluing together the displaced bits and
pieces of originally unrelated images onto a flat surface to create a new
unforeseen image, most notably seen in the works of Max Ernst. This
principle of displacement can also be used with language and other forms of
creativity, such as with Lautréamont's famous line from Maldoror: "As
beautiful as the chance encounter of a sewing machine and an umbrella on a
dissecting table."
"The value of the image depends upon the beauty of the spark obtained ...
the two terms of the image are not deduced from the other by the mind for
the specific purpose of producing the spark, [but rather] they are the
simultaneous products of the activity I call Surrealist, reason's role being
limited to taking note of, and appreciating, the luminous
phenomenon." ---André Breton, Manifesto of Surrealism
3.4 The Surrealist Object
The Surrealist Object is an object, real or imaginary, that has been removed
from its original utilitarian role within the confinement of everyday life
by the dictation of the internal and emotional order. The earliest known
collector of these objects was the German writer Georg Christoph Lichtenberg
who, in 1798, completed a list of imaginary instruments, the most popular
being "a bladeless knife with the handle missing." Since the first group
exhibition of Surrealist Objects in 1936 numerous types of objects have been
invented or theorized, such as: the Found Object, the Natural Object (such
as stones or shells), and the Perturbed Object (deformations), all of which
rely on how the object interacts with the finder's interior necessities.
Other objects include the Interpretive Object (an object physically or
interpretively transformed by the finder) and the Poem-Object (a poem in
which several of the words are replaced with physical objects).
3.5 Games
The surrealist use of games, like that of art and literature, is primarily
focused on the subversion of premeditation and rational constraints, but in
addition it is also a subversion of the artist's ego with the potential for
revealing the Marvelous heavily relying on the release of collective
creativity. The most famous of these games is the Exquisite Corpse, a game
of paper folding whereby each player creates an incomplete image or phrase
that is unseen by the other players who will then complete the image or
phrase. Specific rules are required for the linguistic version of the game:
player one writes a definite or indefinite article and an adjective, player
two writes a noun, player three writes a verb, player four writes another
definite or indefinite article and an adjective, and player five writes
another noun. The first sentence obtained from this method was "The
exquisite corpse shall drink the new wine." Another game is the game of
Question and Answer (also known as the Game of Definitions), whereby a
question or word is provided by one player, and an answer or definition is
provided by another player who has no knowledge of the question or word
provided by the first player. The question and answer (or word and
definition) are put together to reveal the results, such as:
What is the desert? A dove alighting on a flame.
What is evolution? A calligraphic box of anatomical forms.
SOME SURREALIST CONCEPTS
4.1 Black Humor
Black Humor is a type of humor, often ironic and macabre, where the drive
for pleasure surmounts the trauma of the exterior world. An example taken
from Freud would be that of a man sentenced to be executed on a Monday who
exclaims, "What a wonderful way to start the week!" Exemplary in the works
of Jacques Vaché, Jonathan Swift, and the Marquis de Sade.
4.2 The Marvelous
In its central characterization the Marvelous is a revolt against and an
overturning of common sensibility that is guided by desire and governed by
pleasure. In Mad Love Breton recognized three distinct manifestations of the
Marvelous: fixed-explosive (the juxtaposition or unification of two distant
features), magic-circumstantial (a coincidence manipulated by desire;
synonymous with Objective Chance), and veiled-erotic (the alternating
between two or more coherent perceptions). All of these manifestations rely
heavily on the freeing of the individuals own subjectivity and imagination,
and a reorientation to the inner necessities. The Marvelous is synonymous
with Convulsive Beauty.
4.3 Mad Love
Mad Love is an overwhelming and excessive pursuit of love driven by an
irrational momentum that is often compulsive and spontaneous, and has little
to do with choice and more to do with internal necessity.
"Only love in the sense that I understand it---mysterious, improbable,
unique, bewildering, and certain love that can only be foolproof, might have
permitted the fulfillment of a miracle." ---André Breton, Nadja
"The act of love, just as with a painting or a poem, is discredited if he
who surrenders to it does not do so in a trance." ---André Breton, Apertures
4.4 Miserablism
Miserablism is an inurement to misery, occurring when the deficiencies of
existence are accepted as normal or unavoidable. Defined by Breton as "the
depreciation of reality in place of its exaltation" and further elaborated
by the Chicago Surrealist Group as "the rationalization of the unlivable,"
Miserablism is one of the main enemies of Surrealism, cultivated by economic
rationalism and religion.
THE PERIPHERY: Precursors, Fellow Travelers, et al.
This is not an exhaustive list of the periphery, but rather a short list of
groups and individuals from the periphery who have, at times, been relative
to the discussions at alt.surrealism. Further suggestions and participation
within this section is encouraged.
5.1 Georges Bataille
Under construction
5.2 Dada
Under construction
5.3 Salvador Dali (Avida Dollars)
Under construction
5.4 The Occult
Under construction
5.5 Oulipo
Under construction
5.6 Pataphysics
Under construction
5.7 Psychoanalysis
Under construction
5.8 Situationist International
In 1956 two para-surrealist groups, the International Movement for an
Imaginist Bauhaus and the Lettrist International, met at the First World
Congress of Liberated Artists and soon after unified (along with the
fictional London Psychogeographical Association) to form the Situationist
International.
Instead of passively accepting what the commodity system has made of living
(a boring mess of alienation and separation) the Situationist International
chose as their basic premise the construction of a new way of life. Their
social critique of capitalism, as theorized in Guy Debord's Society of the
Spectacle, began with their identification of the spectacle, a web of images
and representations (such as advertisements, television, sports events,
newscasts) that develops from the perspective of those in power. The
spectacle is collectively viewed and constantly renewed, turning the
individual into a passive receptor by replacing leisure (what do I want to
do today?) with entertainment (what do I want to see today?). The individual
is no longer active, but exists in a petrified state of buying and selling
experiences.
For the Situationist International the spectacle could be subverted and a
new way of life could be discovered by the individual's management and
construction of situations, those temporary settings of life that are
characterized by a superior emotional quality. The construction of
situations would be based on the theory of Unitary Urbanism, defined as the
use of an ensemble of arts and techniques that would contribute to an
integral composition of the urban space or environment, recovering that
space from the manipulation of the spectacle. Unitary Urbanism would rely on
the method of detournment, whereby a preexisting artistic element is reused
in a new ensemble, and the field study of Psychogeography, defined as the
gathering of information on how the environment influences the psychology of
the individuals. This information can be discovered through the method of
the dérive, a transient passage through a variety of ambiances, and once the
proper information is obtained it would be applied to the construction of
situations.
The Situationist International remained somewhat obscure until 1966 when
they published Mustapha Khayati's On the Poverty of Student Life at the
request of and funded by the student union of the University of Strasbourg.
The pamphlet, which lambasted universities for institutionalizing ignorance
and ridiculed modern culture and its officials, was denounced as a
misappropriation of public funds. The result was a public scandal and the
closure of the student union. Khayati's highly distributed pamphlet
eventually found its way to the University of Paris at Nanterre in early
1968, and inspired a group known as the Enragés to graffiti the walls of the
campus with Situationist slogans and to sabotage lectures. A general protest
followed in May where students engaged in political discourse and even
questioned the idea of the university itself, which eventually lead to the
closure of the college on May 2nd. Action committees set up by the
Situationist International and the Enragés were struck to spread the protest
to schools and factories throughout France, and by May 21st Paris was
paralyzed by a general strike. For this brief period France appeared to be
on the brink of revolution, but de Gaulle regained power with the assistance
of the military and dissolved the situation.
Despite the growth of interest in their ideas following this period the
Situationist International disbanded in 1972.
APPENDIX
6.1 Further Reading in English
Surrealist Authors: Louis Aragon ("Paris Peasant," "Treatise on Style");
André Breton ("What is Surrealism? Selected Writings [ed. Franklin
Rosemont]," "Manifestoes of Surrealism," "Surrealism and Painting," "Nadja,"
"The Communicating Vessels," "Mad Love," "Arcanum 17," "The Lost Steps,"
"Break of Day," "Free Rein," "Anthology of Black Humor," "Conversations: The
Autobiography of Surrealism," "The Magnetic Fields [with Philippe
Soupault]," "The Immaculate Conception [with Paul Eluard]"); Leonora
Carrington ("Down Below," "The Hearing Trumpet"); Robert Desnos ("Liberty or
Love," "Mourning for Mourning," "Selected Poems"); Max Ernst ("The Hundred
Headless Woman," "A Little Girl Dreams of Taking the Veil"); Michel Leiris
("Aurora," "Brisees: Broken Branches"); Pierre Mabille ("Mirror of the
Marvelous"); Benjamin Péret ("Death to the Pigs," "A Marvelous World").
Anthologies: "The Poetry of Surrealism" (ed. Michael Benedikt), "A Book of
Surrealist Games" (ed. Mel Gooding), "The Shadow and Its Shadow: Surrealist
Writing on the Cinema" (ed. Paul Hammond), "The Autobiography of Surrealism"
(ed. Marcel Jean), "The Custom-House of Desire" (ed. JH Matthews),
"Investigating Sex: Surrealist Discussions 1928-32" (ed. Jose Pierre),
"Surrealism" (ed. Herbert Read), "Refusal of the Shadow: Surrealism and the
Caribbean" (ed. Michael Richardson), "Arsenal: Surrealist Subversion 4" (ed.
Franklin Rosemont), "The Forecast is Hot!" (ed. Franklin Rosemont),
"Surrealism and Its Popular Accomplices" (ed. Franklin Rosemont),
"Surrealist Women" (ed. Penelope Rosemont).
While the best critical overviews of and introductions to Surrealism are
Franklin Rosemont's introduction to "What is Surrealism? Selected Writings
of André Breton," Penelope Rosemont's "Surrealist Women," and the many books
of JH Matthews, the following books merit attention as they were used as
sources for this FAQ: Sarane Alexanderian, "Surrealist Art"; Jacqueline
Chénieux-Gendron, "Surrealism"; David Gascoyne, "A Short Survey of
Surrealism"; Helena Lewis, "The Politics of Surrealism"; Maurice Nadeau,
"The History of Surrealism"; Rene Passeron, "The Concise Encyclopedia of
Surrealism"; Jose Pierre, "An Illustrated Dictionary of Surrealism."
6.2 Online Documents
What is Surrealism? by Andre Breton:
http://pers-www.wlv.ac.uk/~fa1871/whatsurr.html
What is Surrealism? by Andre Breton (alternative link):
http://www-e815.fnal.gov/~romosan/surrealism.html
Declaration of January 27, 1925:
http://www.fordham.edu/halsall/mod/1925surrealism.html
Murderous Humanitarianism:
http://www.postfun.com/racetraitor/features/murderous.html
6.3 Online Surrealist Groups
The Chicago Group: http://www.surrealism-usa.org/
The Czech & Slovak Group: http://home.ti.cz/~surreal/surrealindex.html
The Netherlands Group: http://www.geocities.com/surrealisme_in_nederland/
The Paris Group: http://ourworld.compuserve.com/homepages/jjmeric/
The Portugal Group: http://members.tripod.co.uk/surrealismo/
The Stockholm Group: http://www.users.wineasy.se/vertsurr/
Surrealists in Minnesota: http://www.magneticfields.org/
The Wisconsin Group: http://www.execpc.com/~bogartte/Counterclockwise.html
6.4 Online Surrealist Resources
The Library: http://www.kalin.lm.com/author.html
No More Words:
http://www-personal.umich.edu/~rmutt/dictionary/NoMoreWords.html
Surrealist Writers: http://www.creative.net/~alang/lit/surreal/writers.sht
6.5 FAQ Acknowledgements
Brandon Freels (brandon...@netzero.net): principal author, editor.
Parry Harnden (ame...@norlink.net): contributing author.
February 10, 2001
mdeli
real objects in an unreal context. Its success or failure is a matter
of how well it is executed. Much modern surrealism is ordinary
no-skill-realism.
Surrealism is not an invention of any artist or group and is as old as
art. Most of the finest modern illustration is surreal in subject
matter.
On Wed, 31 Jul 2002 19:35:47 -0700, "Brandon Freels"
<brandon...@aaahawk.com> wrote:
>"mdeli" wrote
>> I find surrealist theory just as stupid as most
>> other Modern Academic Art theory.
>
>You need this:
You need to think clearly.
>"Perhaps the greatest danger threatening Surrealism today
BS- Nothing "threatens" surrealism.
>is the fact that
>because of its spread throughout the world, which was very sudden and rapid,
>the word found favor much faster than the idea." ---André Breton, Surrealist
>Situation of the Object
>
> "Surrealism has declared, in every authentic manifestation, its commitment
>to revolution;
Oh revolution again.
>WHAT IS SURREALISM?
>
>1.1 Pure Psychic Automatism
>
Artspeak snipped
>
>"Surrealism is not a new means of expression, or an easier one, nor even a
>metaphysics of poetry. It is a means of total liberation of the mind and of
>all that resembles it ... Surrealism is not a poetic form. It is a cry of
>the mind turning back on itself, and it is determined to break apart its
>fetters, even if it must be by material hammers!" ---Declaration of January
>27, 1925
Pure BS
>
>The Surrealist Movement was founded in Paris in 1924 for the sole purpose of
>changing reality through the dissolving of orthodoxy, the liberation of the
>mind, and the reintegration of the inner necessities with the exterior life.
Surrealism in the Modern Art sense is an offshoot of Dada. It was
taken up by some artists who unlike most Dadaists had the technical
skill to do something that would interest people more than
incompetently expressed raw defiance.
>Opening the Bureau of Surrealist Research and eventually publishing two
>journals (The Surrealist Revolution and Surrealism in the Service of the
>Revolution)
Which no one bothers with today
>Today the movement is a decentralized and international constellation of
>groups and individuals committed to Surrealism's resilient principles.
Surrealism has no "resilient principles.
snip
>Resolving that a revolution in
>consciousness cannot transpire independent of a revolution in man's material
>condition the Paris surrealists began an association with the Communist
>Party.
> The surrealists argued that
>art's revolutionary value cannot be reduced to its obvious manifest message.
Art has no revolutionary value even though endless meaningless tomes
are written about it.
>Since the 1940s surrealism has remained non-aligned, often affiliating with
>and supporting a variety of revolutionary movements that oppose the existing
>conditions of the social, political, and cultural order, and issuing
>opinions on contemporary political matters (such as advocating for world
>disarmament, denouncing French colonialism in Indochina and Algeria,
>protesting the Soviet intervention in Hungary, applauding the outset of the
>Cuban Revolution before it was aligned with Russia, and, more recently,
>siding with those responsible for the Los Angeles Rebellion of 1992). In its
>modern development the political position of Surrealism can be summed up by
>the finale of the Chicago Group's Declaration of War (1971):
Perhaps there is such a thing as political surrealism but it has
nothing to do with the visual arts beyond its occasional inferences in
its subject matter.
>"Let us speak plainly.
I'd really like that.
> Until the last convict is out of prison and the last
>'madman' out of the asylum; until the last army has been disbanded and the
>last government overthrown; until the last church has been burned and the
>last bank pulverized; until the last capitalist and the last cop have been
>hanged to death with the guts of the last politician and the last priest;
>that is, until men and women are truly free, surrealism will continue
>relentlessly to provide miraculous weapons with which to struggle for this
>freedom."
Impractical idealists have nothing to do with the surreal.
>" The surrealist use of art and literature stands opposed to
>the notion of talent and the domination of so-called specialists. Following
>in the footsteps of Lawbreaking's famous maxim that "poetry must be made by
>all," surrealists appreciate art and literature for their ability to
>manifest the individual's internal and emotional order, and believe that
>everyone has the capacity and necessity to create.
Isn't that wonderful
>"The art of painting, as I conceive of it, consists in representing through
>pictorial technique the unforeseen images that might appear to me at certain
>moments, whether my eyes are open or shut." ---Rene Magnetite, from a letter
>to Mr. and Mrs. Barnett Holes
-Realism in an unreal context.
>"The whole point, for Surrealism, was to convince ourselves that we had got
>our hands on the 'prime matter' (in the alchemical sense) of language. After
>that, we knew where to get it, and it goes without saying that we had no
>interest in reproducing it to the point of satiety; this is said for the
>benefit of those who are surprised that among us the practice of automatic
>writing was abandoned so quickly." ---Andre Breton, On Surrealism and Its
>Living Works
Dali had Breton pegged.
>3.3 The Surrealist Collage
>
>The Surrealist Collage is a method of gluing together the displaced bits and
>pieces of originally unrelated images onto a flat surface to create a new
>unforeseen image, most notably seen in the works of Max Ernest.
Dada
>
>The surrealist use of games, like that of art and literature, is primarily
>focused on the subversion of premeditation and rational constraints, but in
>addition it is also a subversion of the artist's ego with the potential for
>revealing the Marvelous heavily relying on the release of collective
>creativity. The most famous of these games is the Exquisite Corpse, a game
>of paper folding whereby each player creates an incomplete image or phrase
>that is unseen by the other players who will then complete the image or
>phrase. Specific rules are required for the linguistic version of the game:
>player one writes a definite or indefinite article and an adjective, player
>two writes a noun, player three writes a verb, player four writes another
>definite or indefinite article and an adjective, and player five writes
>another noun.
snip
More Dada
>4.3 Mad Love
>
>Mad Love is an overwhelming and excessive pursuit of love driven by an
>irrational momentum that is often compulsive and spontaneous, and has little
>to do with choice and more to do with internal necessity.
>
>"Only love in the sense that I understand it---mysterious, improbable,
>unique, bewildering, and certain love that can only be foolproof, might have
>permitted the fulfillment of a miracle." ---Andre Breton, Nassau
As I understand it Breton was a prude.
snip
>For the Situationally International the spectacle could be subverted and a
>new way of life could be discovered by the individual's management and
>construction of situations, those temporary settings of life that are
>characterized by a superior emotional quality. The construction of
>situations would be based on the theory of Unitary Urbanism, defined as the
>use of an ensemble of arts and techniques that would contribute to an
>integral composition of the urban space or environment, recovering that
>space from the manipulation of the spectacle. Unitary Urbanism would rely on
>the method of detournement, whereby a preexisting artistic element is reused
>in a new ensemble, and the field study of Psycho geography, defined as the
>gathering of information on how the environment influences the psychology of
>the individuals. This information can be discovered through the method of
>the derive, a transient passage through a variety of ambiences, and once the
>proper information is obtained it would be applied to the construction of
>situations.
snip
What a load of BS. As I said, "I find surrealist theory just as
stupid as most other Modern Academic Art theory."
Tired of Modern Art? Check out my web page
Todd Strickland
> In the visual arts surrealism is a species of subject matter.
No. First, surrealism was a school centered around Andre Breton and
Philippe Soupalt, and including visual artists such Max Ernst and Andre
Masson. Next, surrealism was (and continues to be) an international
movement. Finally, surrealism is a tendency or vein in Modern art, as
surrealism's influence has had a large impact on non-surrealist art.
> It puts
> real objects in an unreal context.
Ridiculous. By that definintion, the Symbolists, the Pre-Raphaelites, and
about 90% of Rennaisance art is surrealist.
> Its success or failure is a matter
> of how well it is executed. Much modern surrealism is ordinary
> no-skill-realism.
You seem to be the only one who thinks so.
> Surrealism is not an invention of any artist or group and is as old as
> art. Most of the finest modern illustration is surreal in subject
> matter.
Like I said before, you haven't got a clue.
Thanks, Brandon. Your post was very educational. Your analysis by contrast
shows how dry and stale Mani's views on surrealism really are.
Todd Strickland
Richard
On 6 Jul 2002 23:39:59 -0700, pa...@perfectmail.com (Parry) wrote:
>"david anthony magitis" <ima...@btinternet.com> wrote in message news:<ag6ui9$4r2$1...@paris.btinternet.com>...
>> Nina I am with you on that one seems that most of the paints are more
>> observational than head created, but you must agree that the execution of
>> his work is of a very high quality and standard. As for calling it surreal I
>> aint that convinced.
>
>Looking for surreal? I rather like what I've seen of Mary
>Porterfield's works. Haven't found a proper on-line exhibition, but
>one painting can be seen at
>http://garnet.acns.fsu.edu/~sap0318/artistpages/porterfield.html
>and two more at http://www.asu.edu/asunews/arts/flux_031202.htm.
>
>-- Parry
The entanglement painting isn't good. It's just a big mess.
I guess messiness is his substitute for creativity and inventiveness.
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Richard
On Sun, 7 Jul 2002 23:03:12 -0500, "Dale Houstman" <dm...@citilink.com>
wrote:
>
>I agree that the "no emotional reaction" isn't that relevant, but I posted
>my "mental reaction" to the paintings, so we're not all looking for a little
>emo.
I totally disagree! What the hell is art about if not emotion?
Mental my ass! If you want mental exercise, do math or a crossword
puzzle. I hate people who try to turn any kind of art into an
intellectual thing. The result is bullshit. That's not what art is
about! It's like trying to turn sex into an intellectual exercise.
It's just stupid.
Richard
On Sun, 07 Jul 2002 18:48:53 GMT, n...@mail.com (mdeli) wrote:
>
>The usual university crap acompanied by the usual Artspeak. Its about
>as surreal apple pie.
I agree. It's crap.
Richard
On Sun, 07 Jul 2002 22:16:16 GMT, "john adams"
<johnqa...@yahoo.com> wrote:
>While we may agree about the rhetoric of modern art institutions and
>their outrageous price tags, I see your attack on all art commentary
>in general, and this woman's work with patients in particular, as
>inappropriately acidic and somewhat dimsighted.
I disagree. You're the dim one.
That blue "entanglement" painting is just a bunch of blue smears that
don't mean a damn thing whatsoever until someone tells you what it's
supposed to mean. Therefore the painting actually has no meaning
beyond being a bunch of blue smears. It's like when I puke vomit into
the toilet bowl. The resulting pattern of colors has no meaning by
itself. It would have to be given meaning by someone writing a
paragraph or two of artspeak.
Richard
On 08 Jul 2002 02:01:36 GMT, Noumenon <ArtE...@concentric.net> wrote:
>...no, no, that is whimpy!
>
>
>talking about really scary things in SURREALISM as schyso-paranoic things -
>the best artist ever known is Polish painter Zdzislaw Beksinski
>
>-- samples of his work:
>http://art.gothic.ru/paint/beksinski/show_e.htm?72.jpg
>http://art.gothic.ru/paint/beksinski/show_e.htm?60.jpg
>
>-- one of image collections:
>http://www.assoziations-blaster.de/home.c2i.net/farscape/Beksinski/Beksinski.html
FINALLY some REAL surrealism!!
Damn that's good!
LOVE it!
I find it inspiring.
I'd like to make some crazy ass artwork like that too.
Marcus Williamson
>Pollock's work is no more surrealistic than abstract floor covering.
Pollock was never a surrealist. Why are you talking about him? See
here for an explanation of Abstract Expressionism:
http://www.absolutearts.org/masters/names/Pollock_Jackson.html
regards
Marcus
dizz
> *** post for FREE via your newsreader at post.newsfeed.com ***
>
> On 08 Jul 2002 02:01:36 GMT, Noumenon <ArtE...@concentric.net> wrote:
>
> >...no, no, that is whimpy!
> >
> >
> >talking about really scary things in SURREALISM as schyso-paranoic things -
> >the best artist ever known is Polish painter Zdzislaw Beksinski
> >
> >-- samples of his work:
> >http://art.gothic.ru/paint/beksinski/show_e.htm?72.jpg
> >http://art.gothic.ru/paint/beksinski/show_e.htm?60.jpg
> >
> >-- one of image collections:
> >http://www.assoziations-blaster.de/home.c2i.net/farscape/Beksinski/Beksinski.html
>
> FINALLY some REAL surrealism!!
aims to make the hidden visible - ie the unconscious visible - that it
must be horrific. The most startling elements of the unconscious must
be repressed and probably horrific. I prefer the whimiscal
unconscious.
Nerd Gerl
>From: kew...@yahoo.com.au (dizz)
>Date: Sat, Aug 24, 2002 18:40 EDT
>Message-id: <5d4d85a1.02082...@posting.google.com>
For some reason, my browser won't let me see ANY of the urls above.
==========
Naked Angel Art: http://www.rcip.com/nerdgerl
See In Person @ MatrixArts Space | Sacramento, CA
Biz Opp: http://www.rcip.com/nerdgerl/affiliate.htm
Noumenon
Giger is mentally sick man.
Looks like he is poignantly trying to deliver the same nightmare he sees
every night.
Extremely boring.
His pictures all revolve around fewer things, fewer elements.
Same dull palette, and zero ideas.
After seeing 3-5 Giger's pictures most people usually, if not revolted, then
just get bored.
Where the heck you see flight of imagination in his work?
Very strange.
And, of course, Giger is as far from surrealism as Pollack from French
Academic School.
In everything - in ideas, technique, approach and contents.
artonio7
Try this one http://art.gothic.ru/paint/beksinski/frame_e.htm
Tony